POV - CBC.ca · POV FORMAT GUIDE for Independent Productions Updated: May 2018 . 2 ... 11 CBC Docs...

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POV

FORMAT GUIDE

for

Independent Productions

Updated: May 2018

2

TABLE OF CONTENTS PAGE

Introduction & Key Contacts 3

Code of Conduct 4

Inclusion & Diversity Protocol 5

Publicity Deliverables 6

Production Deliverables & Documentation 7– 9

CBC Technical and Format Acceptance Standards 10

Closed Captioning & Described Video 10

Master File Delivery (Hard drive & FTP Delivery) 11

CBC Docs POV Program Structure 12 – 13

Advisories 14

CBC Docs POV Style Guide 15 – 21

Appendix I: How to annotate a transcript 22 – 24

Appendix II: Social Media 25

Appendix III: Advisory List 26 – 27

Appendix IV: Inclusion & Diversity Plan Template & ECHOS Report 28 - 36

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This format guide is designed to provide information on a wide range of Producer responsibilities and requirements,

including production and promotional deliverables, broadcast standards, and policies applicable to CBC Docs POV.

The format guide is divided into sections, so that Producers can share individual sections with their appropriate crew

members – including production office staff, post-production, and publicity – to assist them in doing their job.

Some highlights:

Two new sections, “Code of Conduct” and “Inclusion & Diversity Protocol” have been added to this guide

Many of our docs deal with complex subjects so we require that you adhere to the CBC’s Journalistic

Standards and Practices http://www.cbc.radio-canada.ca/en/reporting-to-canadians/acts-and-

policies/programming/journalism/

To ensure that our high standards for factual accuracy are met you are required to submit an annotated script

(Appendix I)

Publicity (including a digital plan) is an important part of your broadcast. Publicity materials must be delivered

six weeks before your telecast date. Please refer to pg 6.

KEY CONTACTS:

Production Executive - your key creative contact for your production, who will be responsible for all creative elements of

your production. This person is sometimes referred to as your CBC “Representative”.

Charlotte Engel: [email protected], 416 205 2402

Director of Production - your key contact for all buggetary, logistical and operational aspects of your production and

responsible for reviewing and analyzing your production’s overall production schedule (prep through post), budgets,

related party transactions, cost reports and supplier agreements.

Alexandra Lane: [email protected], 416 205 6570

Manager, Business & Rights – responsible for assessing and negotiating your project’s financing structure, rights

package, all business terms and all contracts associated with your relationship with CBC. Also your key contact for all

paperwork associated with the project's financing including external funding agencies and other financiers.

Susan Baker: [email protected], 416 205 8627

Criss Hajek: [email protected], 416 205 6749

Post Production Supervisor - responsible (in cooperation with the Editors and ADs within CBC’s Presentation Group) for

ensuring your program is processed and ready to air and your first point of contact on all technical and post enquiries

related to your deliverables

Justine Fung: [email protected], 416 205 5708

Associate Production Manager - responsible for tracking and gathering all deliverables (with the exception of the

broadcast master) and distributing the content to the right parties.

Amy Moylan: [email protected], 416 205 7691

Digital Producer - responsible for facilitating the development and production of any digital content for publishing on

CBC’s owned websites, social platforms and video players. Also provides guidance and direction on social media

support.

Annette Bradford: [email protected], 416 205 8837

ALL deliverables should be copied to [email protected]

http://www.cbc.radio-canada.ca/en/reporting-to-canadians/acts-and-policies/programming/journalism/

http://www.cbc.radio-canada.ca/en/reporting-to-canadians/acts-and-policies/programming/journalism/

mailto:[email protected]







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CODE OF CONDUCT

CBC is a signatory to the Canadian Creative Industries Code of Conduct to Prevent and Respond to Harassment,

Discrimination, Bullying and Violence as reproduced below. CBC and Producer will ensure compliance with this Code,

both in respect of production of the Program and in the dealings between employees and agents and CBC staff and

representatives.

The Canadian Creative Industries Code of Conduct confirms our commitment to safe and respectful workplaces and to

an industry free of harassment including sexual harassment, discrimination, bullying and violence.

Harassment can take many forms including unwanted sexual attention, inappropriate jokes or texts, threats, and other

unwelcome verbal, written, visual or physical communication or conduct. Everyone has a responsibility to build safe

and respectful workplaces. Harassment, discrimination, bullying and violence can affect individuals at every level of

the industry. Promoting increased gender equality and diversity is one way to break down barriers and reduce or

eliminate these behaviours.

The principles espoused in this Code are applicable to all work and work-related environments. These can include but

are not limited to, auditions or casting meetings, job interviews, industry events, festivals, awards, company functions,

production studios and sets (whether local or remote), offices and rehearsal and performance venues.

Signatories to this Code will lead by example by upholding the highest standards of respect, encouraging the good-faith

reporting of complaints concerning harassment, discrimination, bullying and violence and cooperating in the

investigation of such complaints.

In adhering to this Code of Conduct, Signatory organizations agree to take the following steps as applicable to identify

and address harassment including sexual harassment, discrimination, bullying and violence:

Enact policies and procedures that maintain zero tolerance for harassment, discrimination, bullying and violence;

Designate people in the workplace to receive complaints of harassment, discrimination, bullying and violence;

Provide a timely process for the investigation and resolution of complaints;

Implement proportional consequences for violations; and

Protect from retaliation or reprisal those individuals who in good faith allege violations of anti-harassment,

discrimination and violence policies and procedures.

In implementing the above, Signatories will take the following steps, as applicable:

Ensure everyone in the workplace is aware of anti-harassment, discrimination and violence policies and

procedures;

Encourage people to set and respect personal boundaries and engage in consent-based interactions;

When work requires physical contact or scenes of nudity, intimacy or violence, adhere to applicable respectful

workplace policies and collective agreement obligations;

Provide safe places where work may be performed for example, by not requiring individuals to attend meetings

alone or in spaces such as private hotel rooms, etc.; and

Encourage instructors, teachers, coaches and those providing training in the industry to adhere to this Code and

share its principles with their students.

Signatories to this Code of Conduct agree to take all applicable steps to quickly address substantiated complaints of

workplace harassment including sexual harassment, discrimination and violence. Such steps may include the

following:

Requiring remedial action such as counselling and/or training;

Disciplinary action (as per collective agreements and individual organization, union, guild and workplace policies)

including restrictions, suspension or termination of employment and/or membership; or

Legal action as per applicable laws including human rights legislation.

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CBC-TV INCLUSION & DIVERSITY PROTOCOL

At CBC, inclusion and diversity is a priority. As the national public broadcaster, it is our commitment to Canadians to

reflect our country’s rich diversity. To do this, we need your support to ensure all opportunities to reflect and represent

Canada’s diversity are explored and pursued, both within the content, and among those who are pivotal in its creation.

In addition to increasing representation on the screen, we need your help to address underrepresentation in the

industry off screen. You will be expected to make documented efforts to engage and/or train writers, directors, editors,

DOPs, and other production personnel from underrepresented groups. In particular, CBC wants to focus on Indigenous

persons, visible minorities, persons with a disability, and women. We have launched an initiative to achieve gender

parity in key roles, which includes 50% quotas for women directors on specific CBC series.

We ask you to speak with your CBC Representative to discuss a diversity plan suitable for your program. Your

representative will work with you to identify opportunities for talent from underrepresented groups. These

requirements will be particularly important for returning large-scale television series. For returning series, you should

anticipate being obligated to meet specific diversity targets and to create meaningful training opportunities.

For all programs, you are required to submit an inclusion and diversity plan prior to start of production, and to report

back to us on the implementation. Your report should be submitted to your representative when you wrap production.

Diversity On-Screen: To ensure diversity on screen, we want to focus on these key areas:

Content/ Concept: Does your program tell authentic stories about or through the eyes of diverse Canadians? Is the

story about, or reflective of, a diverse Canadian community? (i.e. themes, storylines, subject matter, segments).

Consider authenticity in the portrayal of diverse persons and communities (who is in the writing room?).

Hosts / Stars / Leads: Are the program’s stars, hosts and leads from visible minority or Indigenous communities? Or

are they people with disabilities?

Other On-Air: Are the program’s guests (experts or contributors) or episodic characters from visible minority or

indigenous communities? Are any of them people with disabilities?

Supporting Roles: Are the show’s supporting roles from visible minority and Indigenous communities? Are any of them

people with disabilities? (i.e. secondary characters, secondary host/narrator).

See CBC’s Inclusion and Diversity Casting Protocol, and work with your representative to identify talent from

underrepresented groups.

Diversity behind the Camera: To ensure diversity behind the camera, we want to focus on these areas below:

Executive / Key Creative: You should strive for a wide range of voices behind the camera. Do your key decision-makers

reflect Canada’s diversity? Can you widen your pool of writers, directors, and producers? Be advised that you may be

required to meet specific targets in this area, or create a paid training opportunity for an emerging, diverse writer,

director, or producer. This will be particularly important for returning, large-scale CBC television series.

Production Team: You are expected to create opportunities for diverse talent at all levels within your production team,

from entry-level roles to senior creative and executive ranks. Let us know what measures will be taken to increase off-

screen diversity. We also encourage you to adopt a corporate policy to achieve such aims in your day to day business,

including diversity targets and/or prioritizing training opportunities.

Attached at the back of this Handbook are two forms which will be used by CBC to help us track our commitment to

inclusion and diversity and the foundation of the plan you are working toward. We ask that you complete the Diversity

and Inclusion Plan prior to commencing principal photography; and complete the ECHOS Report once you’ve wrapped

production to let us know how closely you were able to stick with your original plan.

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PUBLICITY DELIVERABLES

Having a well thought out digital plan is vital to the success of your documentary. It is a requirement that a digital plan

be part of your overall PR strategy. You are required to deliver a digital plan within 2 weeks of being greenlite for

production.

Please connect with our digital producer at the time of your fine cut to finalize your digital plan. It is important that

producers are flexible with their digital strategy as trends are constantly evolving. Please download the following form,

complete and submit to [email protected]:

https://docs.google.com/a/cbc.ca/document/d/19yHY5NJLCSwOxEaCBDiz9UVmWzfR9TznLYHWHjZkXfk/edit?usp=sh

aring

The following material should be sent SIX (6) WEEKS prior to the air date:

VIDEO: Picture lock in hi res and in split track audio (1080i, 59.94 NTSC drop-frame Audio: trk1: narration,

trk2: sync, trk3: eff/bg, trk4: mono music). If a picture lock master is not available, we will require a 15 min

compilation of visually compelling footage from your documentary. This footage will be used to produce CBC’s

in-house promos.

ONLINE VIDEOS: 3-4 excerpts for use in online promotion (1080i, H264, mp4, stereo). Our digital producer

will assist you in selecting excerpts to ensure the content has the widest audience potential. Note the

excerpts should be accompanied by .srt files (closed captioning).

PHOTOGRAPHY: 10-15 colour publicity photographs, at a minimum of 300 dpi and cleared for use in all media.

Each file should be labeled with an appropriate description of the shot. (Please do not leave a number as the

file descriptor) If photo credits are required this should be clearly indicated. Note that most digital templates

use a horizontal 16x9 orientation so landscape photography is preferred. We recommend hiring a professional

photographer to create some visuals which will sell your film. Think of an iconic, simple image that will work in

various sizes to encourage click-through online viewing. Character head shots and productions stills are

generally not recommended. Please do not provide screen grabs.

A complete interviewee list including title/affiliation and contact information

A complete list of credits. If you would like credits added to the website, please include a second simple text

version without logos.

Biographical information on key interviewees and creative personnel

Storylines and production notes

A short 500 word story that describes the director’s point of view (for example:

http://www.cbc.ca/firsthand/blog/) It should talk about why the film was made

(http://www.cbc.ca/firsthand/blog/why-make-a-film-on-binge-drinking) or discuss a unique aspect of the

production process. (http://www.cbc.ca/firsthand/blog/how-filmmaker-dylan-reibling-teamed-up-with-former-

detective-dave-perry-to) with supporting photos or video. Note that for some documentaries a story based on

the director’s point of view may not work. It’s important to discuss your story ideas with our digital producer in

advance in order to come up with the most appropriate angle.

SYNOPSIS: 2 versions - long (500-600 words) and short (200-250 words) (see our website for examples:

http://www.cbc.ca/cbcdocspov/episodes)

2 log line descriptions - short form “A” maximum of 90 characters and “B” maximum of 120 characters

(including spacing).

Loglines, synopses and credits are to be approved by Charlotte Engle.

Photos, excerpts and the 500 word story should be discussed and approved by your digital producer in advance of

production.

All materials should be copied to the [email protected] email. This will ensure the PR materials are distributed to

all departments within the CBC.

For tips on how to put a successful digital plan together, please have a look at the following link:

CBC Digital Documentary Treatments:

https://docs.google.com/document/d/1EkIh7iiCMSVCteYaB850ohAly5dscJiaXQRe-CfLXwE/edit?ts=59d4fd5e


https://docs.google.com/a/cbc.ca/document/d/19yHY5NJLCSwOxEaCBDiz9UVmWzfR9TznLYHWHjZkXfk/edit?usp=sharing

https://docs.google.com/a/cbc.ca/document/d/19yHY5NJLCSwOxEaCBDiz9UVmWzfR9TznLYHWHjZkXfk/edit?usp=sharing

http://www.cbc.ca/natureofthings/blog/

http://www.cbc.ca/natureofthings/blog/

http://www.cbc.ca/firsthand/blog/why-make-a-film-on-binge-drinking

http://www.cbc.ca/firsthand/blog/how-filmmaker-dylan-reibling-teamed-up-with-former-detective-dave-perry-to

http://www.cbc.ca/firsthand/blog/how-filmmaker-dylan-reibling-teamed-up-with-former-detective-dave-perry-to

http://www.cbc.ca/natureofthings/episodes/

http://www.cbc.ca/natureofthings/episodes/

https://docs.google.com/document/d/1EkIh7iiCMSVCteYaB850ohAly5dscJiaXQRe-CfLXwE/edit?ts=59d4fd5e

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PRODUCTION DELIVERABLES & DOCUMENTATION

CUTS

All cuts with guide narration and burnt in time code should be sent via Dropbox or Vimeo.

Please send Charlotte Engel a minimum of 4 cuts for review and allow 10 business days for notes for each cut. If

notes are required prior to the standard 10 business days, please contact Charlotte directly to discuss schedule.

Transcripts with time code must accompany ALL cuts.

1. Rough cut with burnt in time code (no less than 50 minutes and no more than 60 min in length) with

timecoded transcript

2. Fine cut with burnt in time code and time coded transcript

3. Picture lock with burnt in time code with time coded annotated transcript (refer to Appnedix I)

4. Online (This is the final colour corrected and audio mixed documentary packaged with all CBC Docs POV

elements). The online screener must be approved and signed off by Charlotte PRIOR to final delivery of the

master.)

All cuts should be sent to Charlotte and copied to the deliverables email, [email protected]. Certain payments are

tied to the receipt and acceptance of the above listed cuts, copying all your deliverables to the [email protected]

email will facilitate prompt payment.

DOCUMENTATION

The following deliverables should be sent with the broadcast master unless otherwise specified. They MUST be available

PRIOR to the broadcast date.

ANNOTATED TRANSCRIPT with time code : Annotations must be in the body of the script in italics. Please do not put

them as endnotes. Refer to APPENDIX I for a sample annotated script. The final annotated transcript must be

reviewed and approved by Charlotte.

SHOW TRANSCRIPT with time code must include time code at the beginning of each major clip and narrated segment.

Please indicate where the breaks are for each block.

SUPER LIST with time code: Names, titles and time code of everyone supered on the doc, and any other supered

information including locations and website lower 3rds. This list should include the exact wording and correct spelling

and listed in the same order as they appear in the documentary.

PROGRAM CUE SHEET with time code: List of the length for each block of content, with the time codes in and out where

they appear on the master file. Indicate the real time code out of each segment on the cue sheet, including frames (not

rounded up or down to the even second). In the duration column, the segment duration should be rounded up or down to

the second.

CREDIT LIST: Function credits are to be lower case and names are upper and lower case. No boxes, tables or company

names with the possible exception of post-production companies. The use of post-production company names on credits

will be approved on a case by case basis. The final credit list must be reviewed and approved by Charlotte.

LOGOS FOR CREDITS: Supply the production company logo and ALL other logos used in the credits, including ISAN logo

with number, as EPS or TIFF files. Files should be large enough to be keyable in HD. 1280X1024 is good. A Jpeg may be

possible as well but needs to be a large file format.

MUSIC CUE SHEET: Productions must supply a list of ALL music used, its source, rights holders and any other critical

information with time codes, including Canadian Federation of Musicians (CFM) clearances. Please refer to the SOCAN

site, https://www.socan.ca/creators/audio-visual-cue-sheet for cue sheet templates and info on “how to complete a

SOCAN Cue Sheet.”



https://www.socan.ca/creators/audio-visual-cue-sheet

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AV DELIVERABLES

The following deliverables should be sent along with the broadcast master. They MUST be available PRIOR to the

broadcast date.

FINAL SCREENER WITH TIMECODE: stereo mixed, titled : This version should be a copy of the broadcast master, but no

textless elements.

FINAL SCREENER WITHOUT TIMECODE: stereo mixed, titled: This version should be a copy of the broadcast master, but

no textless elements.

File Format:

Video codec H264 codec

Format: Quicktime mov

Resolution: 1920 x 1080

Video Bitrate: 6000 kbps

Frame Rate 29.97i

Sample Rate: 48000 Hz

Audio Bitrate: 240000 bps

TEXTLESS VIDEO: All textless elements should be added to the end of the broadcast master with 1 sec of handle on

each end.

AUDIO STEMS (as digital wave files)

Matching 5.1 stems for FINAL PICTURE

In WAV files

48khz 24-bit

1. Digital wave files of 5.1 Full mix with stereo Lt/Rt

Track 1 LF

Track 2 RF

Track 3 Centre *

Track 4 LFE

Track 5 LS

Track 6 RS

Track 7 Stereo Left

Track 8 Stereo Right

*The centre channel should be used primarily for sync and narration. To ensure intelligibility of the narration

and sync, the use of the centre channel for other mix elements should be minimized when sync and narration

are present

2. Digital wave files of 5.1 mix minus narration:

Track 1 LF

Track 2 RF

Track 3 Centre

Track 4 LFE

Track 5 LS

Track 6 RS

Track 7 Stereo Left

Track 8 Stereo Right

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3. Digital wave files of 5.1 music stems as follows:

Track 1 LF

Track 2 RF

Track 3 Centre

Track 4 LFE

Track 5 LS

Track 6 RS

Track 7 Blank

Track 8 Blank

4. Digital wave files of 5.1 Combined FX stems:

Tracks 1 to 6 contain no narration, sync dialogue, or reverb from narration and main dialog (BG dialog that will

not need translation for international use is allowed)

Track 1 LF

Track 2 RF

Track 3 Center – additional FX if used on center track

Track 4 LFE

Track 5 LS

Track 6 RS

Track 7 narration

Track 8 dialogue

Copy of Full Mix Session (as requested on a case by case basis)

SLATES / LABELS

Please be sure to slate and label all hard drives with:

*Program title: CBCDocsPOV_Doc Title_BroadcastMaster

*Layout of audio tracks

*Picture format (aspect ratio)

*Content length

*Number of breaks

*Close Caption/ Described Video information and company contact info

Insert a paper copy of the slate information in the box as well as the cue sheet indicating the ins and outs of each block.

DELIVERY OF MATERIALS

Justine Fung

CBC

205 Wellington Street West

Toronto, Ontario

M5V 3G7

416-205 5708 or [email protected]

***IMPORTANT: Your master delivery payment will only be released once ALL deliverables have been received.

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CBC TECHNICAL AND FORMAT ACCEPTANCE STANDARDS

BROADCAST TECHNICAL INFORMATION WEB LINK

In the forthcoming pages, you will find the technical information you will need to submit your documentary for

broadcast on CBC Docs POV. The principal photography on all CBC Docs POV production must incorporate high caliber

HD lenses and cameras with a sampling structure of at least 4:2:2 and a bit rate of 50Mbps or above. All

documentary final masters are to be delivered in High Definition with 5.1 surround sound on an approved hard drive or

via ftp. For full detailed technical information, please consult the CBC Technical Specifications for Program Delivery

Version 5.1 (Sept.21st, 2016) at the following link:

http://www.cbc.radio-canada.ca/_files/cbcrc/documents/reporting-to-canadians/tech-standards/technical-specs-for-

program-delivery.pdf

CBC Docs POV will no longer accept documentaries in SD format or on tape. Please refer to the Technical Specifications

for Program Delivery Version 5.1 (link above) pg 1, 3-6, 8-9 for HD file delivery.

The final program will be quality checked upon delivery to CBC to confirm that it meets the technical

standards/specifications listed in this guide. Should you have any questions regarding the file delivery of your master

program and all associated content, please contact Justine Fung (416) 205 5708, email: [email protected]

CLOSED CAPTIONING

All CBC Programs must be delivered with closed captioning. Pop-on captions are required and are defined as a phrase

or sentence that appears on the screen all at once (not line by line), and stays visible for a few seconds then

disappears or is replaced by another full caption.

Captions should be timed to synchronize with the Program, and are placed on the screen in order to assist in

identifying the speaker.

CC must be in mix cased style

CC files must conform, within a half second, to the Primary Video Mezzanine

CC must not obscure burned-in text

CC files must not be censored or contain advertisements, placards, overlay branding, or website link callouts

Deliver as a secondary asset (.SCC, TTML)

For specific technical details regarding closed captioning, please refer to CBC’s Technical Specifications for Program

Delivery Version 5.1 (link above) pg9.

DESCRIBED VIDEO

All CBC Programs must be delivered with described video. Described Video (DV) is an audio track produced and

provided as an aid to those who are blind or have low vision.

In an effort to provide uniform, consistent, high quality Described Video in Canada and standardize

the delivery of DV, broadcasting industry representatives, producers of description, and community groups, with the

support of the CRTC, developed best practices and artistic and technical guidelines required to produce good quality

Described Video.

For specific details regarding CBC delivery for Described Video, please refer to CBC’s CBC’s Technical Specifications for

Program Delivery Version 5.1 (link above) pg18.

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SSD HARD DRIVE or FTP DELIVERY

SSD HARD DRIVE DELIVERY

The CBC will accept program delivery on portable hard drives (in the event digital file delivery is not possible) that

conform to the specs outlined in this document. The SSD hard drive will be supplied by the producer with complete

video/audio files for transfer into the CBC internal QC editing system.

Hard drives will only be returned at the producer’s own expense if requested by the producer. The CBC policy of 20

business days (from the date of receipt) for approval and acceptance is still required for this delivery system. All final

masters must pass the QC process.

Drive specifications

Solid state drive (SSD)

Drive size will be dictated by the size of files to be delivered

Drive is housed in external case with USB connectivity.

Drive Formatting

NTFS formatted

Video/Audio Format

Please refer to the CBC’s Technical Specifications for Program Delivery Version 5.1 (page 10 of this guide) pg 1,

3-6, 8-9.

Accompanying files

PDF document outlining important notes pertaining to files delivered

.scc closed caption files

Contact information include telephone and address

FTP DELIVERY

FTP delivery is done via Aspera and an email invitation is required for access. For details on FTP transfers, please contact

Justine Fung at 416 205 5708 or via email at [email protected]


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PROGRAM STRUCTURE

You will be provided with CBC Docs POV elements for packaging. Please be advised that you may be required to

purchase specific fonts related to the CBC Docs POV branding.

The total content run time is 44:02 including all CBC Docs POV elements and credits.

For CBC broadcast, the duration of each segment may need to be rounded out to the next second to avoid having the

top or tail clipped by the commercial breaks. If there are overhanging frames in your documentary please round up

your content time and take this into consideration when you calculate your total content time of 44:02. Your

documentary will be REJECTED if the content time is over 44:02.

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MASTER FILE FORMAT

TIMECODE

(at start)

DURATION

(hh:mm:ss:ff) AUDIO VIDEO COMMENTS

09:59:00:00 00:00:30:00

1 kHz @ reference level

(audio/video Synchro.)

Colour bars

(audio/video Synchro)

09:59:30:00 00:00:05:00 Reference tones Show ID Slate

Technical Specifications For

Program Delivery pg8,9

09:59:35:00 00:00:20:00 Vocal Track ID/Pink Noise


Program Delivery pg8

09:59:55:00 00:00:03:00 Silence Black

09:59:58:00 00:00:00:01

1 kHz @ reference level

(audio/video Synchro.)

Colour bars

(audio/video Synchro)


Program Delivery pg8

09:59:58:01 00:00:02:00 Silence Black

10:00:00:00 00:00:06:00 POV Opening Animation POV Opening Animation Filename: Doc title_Open

00:01:00:00

(approx.) Teaser Teaser

00:12:28:00* Act 1 Act 1

Sample time: Discuss act length

with Charlotte Engel

00:00:03:00 POV Bumper POV Bumper

Filename: Doc title_Bumper

00:00:02:00 Silence Black CM Break 1

00:00:03:00 POV Sting POV Sting

Filename: Doc title_Sting

00:10:45:00* Act 2 Act 2








00:09:30:00* Act 3 Act 3








00:09:25:00* Act 4 Act 4



00:00:30:00

(Exact)

Credit Music

27 sec Closing Credit +

3 sec CBC CoPro Animation

On black background

Filename: CBC CoPro (yr of

broadcast)

00:00:05:00 Silence Black

00:00:05:00 Silence Textless Slate

00:00:30:00

(Exact) Silence Lower 3rd credit version

CBC Docs POV-Elements

Template.aep\_L3 Credits Here

----- All Textless Elements All Textless Elements

Content Time 00:44:02

Total Content Time: 44:02 (this includes all CBC packaging elements, but EXCLUDES all commercial blacks)

Total Run Time: 44:08 (this includes all CBC packaging elements, but INCLUDES all commercial blacks)

*These are sample times only. Act lengths vary from show to show – we prefer that acts one and two are

longer. Please discuss act lengths with your Production Executive.

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ADVISORIES

It is the responsibility of the Producer to be aware of the CBC Television Manual for Program Standards and Practices

for rules regarding nudity, violence, coarse language and adult subject matter. The CBC Television Manual for Program

Standards and Practices can be found at the below link:

http://www.cbc.ca/productionfacilities/content/pdf/CBC-Program-Standards-Practices.pdf

The Producer must consult with the CBC Production Executive prior to picture lock to determine if advisories are

required.

Advisories (audience cautions) run from 5 to 10 seconds in length depending on content, and are to be included as

part of Program content time. Advisories run at the beginning of a Program and are required to be repeated at all

commercial breaks within the body of a Program, where the advisory is placed to run coming out of a commercial

break.

A list of suggested advisories can be found in APPENDIX III. Please contact Justine Fung for the appropriate video files.

Closed caption text standards should mirror advisories. Guidelines regarding the handling of coarse language and

profanity for closed captioning, and/or nudity, violence and adult subject manner for described video can be found in

the CBC Television Manual for Program Standards and Practices.


LEGAL NOTICES AND DISCLAIMERS

It will be the responsibility of the Producer, in consultation with CBC, to determine whether a legal notice or other

disclaimer will be required by its insurer or other financial participants. Producer will also be responsible for ensuring

allowance is made for such disclaimer within Program content time.

PLEASE NOTE THAT ADVISORIES, LEGAL NOTICES AND DISCLAIMERS MUST CONSIST OF BOTH VIDEO (TEXT) AND

AUDIO (VOICE-OVER) ELEMENTS.


http://www.cbc.ca/productionfacilities/assets/CBC-Program-Standards-Practices.pdf


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CBC Docs POV STYLE GUIDE

DOCUMENTARY TITLE

Prior to picture lock please discuss your doc’s animated title format and style with Charlotte. Your title should be roughly

4-5 seconds.

FONT

Gotham medium is the POV font. If you do not have Gotham medium, you may use the following substitutes:

Gotham Book

Proxima Nova Medium from myfonts.com

The CBC will supply the following elements:

CBC Docs POV Open Animation (with doc title inserted)

CBC Docs POV Bumper/Sting (with doc title inserted)

CBC Docs Lower 3rd Background

CBC Co-production Animation

OPENING, BUMPERS, SUPERS, SUBTITLES, WEBSITE DRIVERS & CLOSING CREDITS

Please note that all CBC Docs POV documentaries must follow the following format:

CBC Docs POV OPENING ANIMATION: to be added to the top of act 1

Duration: 6 sec

An animation codec file will be provided by the CBC with your doc title added. However, feel free to use the After

Effects file in your graphics package to add your doc title to the opening.

POV Bumper POV Sting

BUMPER: to be used at the end of each act (except for the last act).

Duration: 3 sec

An animation codec file will be provided by the CBC. However, feel free to use the After Effects file in your graphics

package to add your doc title to the bumper.

STING: to be used at the top of each act starting from act 2

Duration: 3 sec

An animation codec file will be provided by the CBC. However, feel free to use the After Effects file in your graphics

package to add your doc title to the sting.

16

LOWER THIRDS FOR TITLES:

Please use CBC Docs POV-Elements Template/_comps/L3 Super

Top line: Upper & lower case in bold text

2nd line: All upper case

Restrictions: Please avoid the first 30 seconds of acts 2, 3 and 4

LOWER THIRDS FOR WEBSITE :

Please use CBC Docs POV-Elements Template/_comps/L3 Web


2nd line: As per template

Guidelines: All web drivers/pop ups MUST be included in the final master. Please contact our interactive producer

Annette Bradford to discuss content and placement.


correct incorrect

SUBTITLES:

Please use CBC Docs POV-Elements Template/_Subtitles_comps

Style: 2 lines per page max, centred in the area left of the CBC GEM in the lower right hand corner of frame. Please

ensure the subtitle will not obstruct the CBC GEM.

17

LOCATIONS:

Please use CBC Docs POV-Elements Template/_comps/CBC_Docs_POV_locator (the fill option to be used only if

necessary)


2nd line: All upper case


COMMUNICATIONS BANNERS

CBC puts “Coming up Next” banners on every show. These appear within 10 seconds coming out of the commercial

breaks after act one. They appear over the bottom portion of picture and last for ten seconds. If possible, please avoid

putting any supers on the documentary from the start of the block to 30 seconds from blocks 2 onwards.

CREDITS:

Style: 2 versions required (full frame and lower 3rd format)

Full screen credits: Please use CBC Docs POV-Elements Template/_Credits Here

Lower 3rd credits: Please use CBC Docs POV-Elements Template/_L3 Credits Here

Duration: 30 sec exactly

Music: At Producer’s discretion

*Font size on credits may vary at the producer’s discretion.

The credits must include the CBC co-production animation, as well as the key CBC Executive names. Please contact

Justine Fung at 416 205 5708 or via email ([email protected]) for the most recent list.

It is network policy that if the program airs in Prime Time the credits will be reformatted. Therefore along with full frame

credits we also request an alternative lower 3rd version to be delivered at the top of the textless. Tech specs are

included in your graphics package.

Only the individuals (not company names) who worked on the documentary are to be given a credit. Exceptions may

be given on a case by case basis, please double check with your Production Executive.

No websites are to be included except for the cbc.ca/CBCDocsPOV website.

Keep the “special thanks” section to a minimum.

Please review the sample credit list on page 19 for reference.


18

Festival and International Versioning:

CBC Docs POV does not allow for opening credits. However, an opening credit is required for any festival or international

versions. Please contact Justine for the correct wording and logo.

FILENAME CONVENTIONS FOR ALL DELIVERABLES

CBCDocsPOV_DocTitle_Description of file

Examples: CBCDocsPOV_BeeNation_BroadcastMaster

CBCDocsPOV_BeeNation_OnlineScreener

CBCDocsPOV_BeeNation_Transcript

CBCDocsPOV_BeeNation_MusicCueSheet

Doc Title: Please use the official doc title, not the working title

19

Sample Credit List

Documentary Title (90 pixel)

written & directed by (all lower case, 76 pixel)

John Doe (90 pixel)

executive producer

John Doe

produced by

John Doe

editor

John Doe

director of photography

John Doe

original music composed by

John Doe

associate producer

John Doe

production coordinator

John Doe

additional camera

John Doe

sound recordist

John Doe

camera assistants

John Doe

director of animation

John Doe

animator

John Doe

graphic effects artist & assistant editor

John Doe

visual research & clearances

John Doe

dialogue editor

John Doe

sfx editor

John Doe

re-recording mixer

John Doe

video post producer

John Doe

20

colourist

John Doe

coordinator

John Doe

publicity

John Doe

accounting services

John Doe

business affairs

John Doe

stock & archival material

John Doe

thanks

John Doe

for the CBC (please always check with Justine Fung for latest list)

general manager, programming

Sally Catto

executive director, unscripted content

Jennifer Dettman

senior director, documentary

Sandra Kleinfeld

director of production

Alexandra Lane

executive in charge of production

Charlotte Engel

produced with the participation of

the Canadian Media Fund

produced with participation of

the Newfoundland and Labrador Film and Development Corporation

21


Rogers Documentary Fund


produced in association with

The Canadian Broadcasting Corporation

CBC.CA/CBCDocsPOV

[Insert producer’s logo and copyright]

[Insert CBC copro animation*]

*year should be the year of first telecast

22

APPENDIX I: HOW TO ANNOTATE:

Annotations must be in the body of the script (in italics). Please do not put them as endnotes.

Each statement of fact should be annotated. Provide relevant quotes from your source(s) to support each statement

of fact.

WEB sources should include the relevant text, URL and the author or name of website. (Wikipedia is not a valid

source.)

PRINT sources should include the relevant text, the document title, author, page number, and date.

CONSULTANT or INTERVIEWEE sources should include contact information, credentials, the date the information was

gathered, and relevant quote or a summary of the interview/conversation.

SAMPLE ANNOTATED TRANSCRIPT WITH INTERVIEW SOURCES:

TIMECODE VISUALS AUDIO

10:00:00

10:00:03

10:00:10

10:00:32

10:00:37

10:00:48

10:00:53

SCENE A

Title:

Docs

Title Sequence:

Road to Mercy

Actuality:

Shots of people in park: group of people sitting

outside, people playing table tennis, people

talking sitting on bench, fountain in park, kids

playing basketball, barefoot child in park, various

shots

Super:

In February 2015, The Supreme Court of Canada

decriminalized physician-assisted death.

Actuality:

Couple holding hands, walking outside; man

roller blading in park

Super:

The Canadian government has one year to

legislate who will be eligible for assisted death.

Actuality:

Shots of city: crowded pedestrian traffic walking

out door, man with hand on back of woman, kid

& woman walking along in park, various shots;

waves along shoreline; cloudy sky & top of

building & wind turbine

Title:

ROAD TO MERCY

Man: Once you accept the idea that, that state

sanctioned killing of patients is morally acceptable, it

becomes almost impossible to find a place to stop

that process. [Laurence Worthen, executive director

Coalition for HealthCARE and Conscience, Ottawa

PAD Committee Hearing, 3 February 2016]

Woman: Euthanasia should be restricted to people

who are terminally ill. I would suggest a life

expectancy of not more than 4 weeks. [Margaret

Somerville, Prof McGill University, Ottawa PAD

Committee Hearing, 4 February 2016]

Woman: Year after year, in poll after poll, Canadians

have overwhelmingly indicated that they support

death with dignity. [Grance Pastine, Litigation

Director, British Colombia Civil Liberties Assn,

Ottawa PAD Committee Hearing, 1 February 2016]

Woman: Future generations will look back on the

legalization of assisted suicide as the most

important social, ethical, legal values decision of the

21st century. [Margaret Somerville, Prof McGill

University, Ottawa PAD Committee Hearing, 4

February 2016]

23

10:23:42

10:23:47

10:24:10

10:24:17

10:24:30

10:24:48

10:24:51

SCENE 8

Title:

ROAD TO MERCY

Actuality:

Shots of Belgian city: Belgian boats docked

along shore, people sitting by water on sunny

day, man riding bike on bridge, young moms

sitting with babies in stroller, group of young

people on street, various shots

Interview:

Dr. Thienpont

Actuality:

Amy walking down street

Actuality:

Group of doctors sitting at table, talking,

various shots

Interview:

Dr. Thienpont

Actuality:

CU Amy smoking; WS Amy smoking on

balcony; Amy walking back inside apartment,

talking with Vera in kitchen, various shots

.

Dr. Thienpont:

We have in Belgium, 6 suicides a day, about 80,

90% because of psychological suffering. People

more and more don’t want to die by suicide. So

they’re asking for euthanasia much earlier in their

process. And I think that’s a good thing. [Lieve

Thienpont, author Libera Me, Ghent, Belgium,

interview: 20 April, 2016]

Dr. Thienpont:

Amy has a long history of illness, depression, uh,

personality disorder, borderline. And I think there’s

also an Asperger problem too, that makes it much

more difficult to treat. [Lieve Thienpont, Amy’s

psychiatrist, Ghent, Belgium, interview: 20 April,

2016]

Dr. Thienpont: <speaking to group of doctors in

Dutch>

Dr. Thienpont:

In case of euthanasia, you have the performing

doctor, and he needs two advices of two

colleagues. [Lieve Thienpont, Amy’s psychiatrist,

Ghent, Belgium, interview: 20 April, 2016]

Dr. Thienpont: <speaking to group of doctors in

Dutch>

Dr. Thienpont:

It’s two tracks – the therapy, and a track of the

procedure to die.

Dr. Thienpont:

For some patients, like Amy, it’s very important to

do some steps in the procedure, for example, to

see a second psychiatrist.

Amy: <Dutch> Those kinds of questions irritate me,

because I didn’t know, what he was insinuating.

And the next appointment is July 19th.

24

SAMPLE ANNOTATED TRANSCRIPT WITH OTHER SOURCES:

TIMECODE VISUALS AUDIO

10:09:17

10:09:21

10:09:27

Super:

Cpl. Eric Boechler, RCMP Lab Unit

Actuality:

[Cpl. Boechler driving]

Boechler: There’s always been other drugs that have

resulted in overdoses---

---but the spike that we’re seeing attributed to

fentanyl is drastic, it’s going up and up all the time.

[for BC numbers, see BC Coroners Service, Fentanyl

Detected Illiciti Drug Overdose Deaths, Jan 1, 12 to

Aug 31/16

“From January through August 2016, an average of

37.8 fentanyl-detected illicit drug overdoes deaths

occurred each month.” That would be 453.6 in

2016 in BC alone.

http://www2.gov.bc.ca/assets/gov/public-safety-

and-emergency-services/death-

investigation/statistical/fentanyl-detected-

overdose.pdf

and

For Alta numbers, “In 2016, deaths related to

fentanyl

65 in the first quarter

81 in the second quarter

47 in the third quarter

So Alberta’s numbers are 193 to end Sept which

means approx. 243 to end Dec 16

See http://www.health.alberta.ca/health-info/AMH-

Naloxone-Take-home.html

snd

Ontario’s numbers for 2015 (Most recent) – 162 for

2015 with the total then for the 3 provinces alone

being almost 900, see CBC News Toronto “Record

number of Ontario Fentanyl Deaths in 2015”, Sept

24, 2016.

So Ont, Alta and BC alone are at almost 900

dealths. See

http://www.cbc.ca/news/canada/toronto/record-

number-of-ontario-fentanyl-deaths-in-2015-new-

data-from-chief-coroner-s-office-shows-1.3777808 ]

http://www2.gov.bc.ca/assets/gov/public-safety-and-emergency-services/death-investigation/statistical/fentanyl-detected-overdose.pdf




http://www.health.alberta.ca/health-info/AMH-Naloxone-Take-home.html

http://www.health.alberta.ca/health-info/AMH-Naloxone-Take-home.html

http://www.cbc.ca/news/canada/toronto/record-number-of-ontario-fentanyl-deaths-in-2015-new-data-from-chief-coroner-s-office-shows-1.3777808



25

APPENDIX II: SOCIAL MEDIA FOR DOC FILMMAKERS

Where to find us:

@cbcdocs maintains active accounts on facebook (https://www.facebook.com/cbcdocs) twitter

(https://twitter.com/cbcdocs) and instagram (https://www.instagram.com/cbcdocs/)

Please follow our accounts so that you can learn more about how we promote films. Social content is shared with

larger @CBC and @CBCnews accounts from the main docs account.

https://www.facebook.com/cbcdocs

https://twitter.com/cbcdocs

26

APPENDIX III: LIST OF STANDARD VIEWER ADVISORIES FOR CBC PROGRAMS:

A reminder: It is the responsibility of the producers, working with Executives in Charge of Production, to

flag the potential need for advisories.

Duration

C number

Clip #

ADVISORY WORDING

1

:05

C413193

C0001 The following program may contain coarse language. Viewer

discretion is advised.

2

:05

C413195

C0003 The following program may contain nudity and sexuality.

Viewer discretion is advised.

3

:05

C413197

C0004 The following program may contain sexuality and coarse

language. Viewer discretion is advised.

4

:05

C413199

C0005 The following program may contain coarse language and

violence. Viewer discretion is advised.

5

:05

C413201

C0006 The following program may contain nudity, violence, and

coarse language. Viewer discretion is advised.

6

:05

C413203

C0007 The following program may contain nudity and coarse


7 :05 C429907 The following program may contain mature subject matter and

violence. Viewer discretion is advised

8

:05

C413205

C0009 The following program may contain violence, coarse language and

sexuality. Viewer discretion is advised.

9

:05

C413207

C0010 The following program may contain nudity, sexuality and


10

:05

C413209

C0011 The following program may contain nudity, sexuality and coarse


12

:05

C413211

C0012 The following program is intended for an adult audience. Viewer

discretion is advised

13

:05

C413213

C0013 The following program may contain scenes which may be

disturbing to younger viewers. Viewer discretion is advised.

15

:05

C413215

C0015 The following program may contain mature subject matter.

Parental discretion is advised.

15a

:05

C413257

C0016 The following program may contain mature subject matter.

Viewer discretion is advised.

17

:05

C413259

C0018 The following program may contain scenes with sexuality.

Viewer discretion is advised

18

:05

C413261

C0019 The following program may contain scenes with violence. Viewer

discretion is advised.

19

:05

C413263

C0020 The following program may contain scenes with nudity. Viewer


20

:05

C413265

C0021 The following program may contain scenes with violence and


28

:05

C413268

C0022 The following program may contain scenes that may be

disturbing to some viewers. Viewer discretion is advised.

35

:05

C413270

C0024 The following program may contain nudity and violence. Viewer


27

SEE BELOW FOR ADDITIONAL ADVISORIES ON THE SERVER

Duration

C number

Clip #

ADVISORY WORDING

:05

C413272

C0025 The following program may contain violence and scenes

disturbing to young viewers. Viewer discretion is advised.

:05

C413274

C0026 The following program may contain coarse language, violence

and mature subject matter. Viewer discretion is advised.

:05

C415838

The following program may contain mature subject matter and

coarse language. Viewer discretion is advised.

:05

C429907



:05

C431209

The following program may contain mature subject matter,

sexuality, coarse language and violence. Viewer discretion is

advised

:05

C435366



:05

C436793

C0025 The following program may contain violence and scenes

disturbing to some viewers. Viewer discretion is advised.

APPENDIX IV

CBC-TV INCLUSION & DIVERSITY PLAN TEMPLATE

2018-19 CBC-TV DIVERSITY & INCLUSION PLAN TEMPLATE

Producer: Click here to enter text.

Program Title: Click here to enter text.

Date: Click here to enter text.

Submitted to: Click here to enter text.

Executive / Key Creative: Do the key decision-makers creating the program reflect Canada’s Diversity?

Diversity Indicators Diversity Potential Additional Comments

☐ Producer(s)

☐ Director(s)

☐ Screenwriter(s)

☐ Editor(s)

☐ Director(s) of Photography

☐ Associate Producer(s)

☐ Other Key Creative(s)

Approximate percentage of key

creative who are visible minority or

Indigenous:

Click here to enter text. %

Click here to enter text.

Content / Concept: Does the show tell stories about or through the eyes of diverse Canadians? Is the story

about or reflect a diverse Canadian community? (i.e. themes, storylines, subject matter, segments, theme

packs)


☐ Subject / Story Matter



creative who are visible minority or

Indigenous:


☐ Is the core focus of the show

about diversity


Audience Potential

☐ Will the story be relevant to

diverse audiences?

☐ Does it deliver new diverse

untapped audience to CBC? If yes,

outline how.


29

29

Primary Characters/Hosts/Presenters: Are the shows primary characters from visible minority or Indigenous

communities? (i.e. host, star, lead, narrator)

Diversity Indicators Diversity Potential Additional

Comments

Not applicable ☐

Principal Roles: Please list the show’s principal roles and

indicate if they will be portrayed by diverse actors.

Diverse ☐ Click here to enter text.






creative who are visible

minority or Indigenous:


☐ Is the core focus of the

show about diversity?

Click here to enter

text.

Other On-Air: Are the show’s guests or episodic characters from visible minority/Indigenous communities.

Other on-air roles may exist for a show and are then gone, one-off’s. (i.e. episodic characters).

In documentaries they may be experts, guests.

Diversity Indicators Additional Comments

Not Applicable: ☐

Guest Roles: ☐ Is there an intention for the show’s guest roles

to be portrayed by diverse actors? If yes, please describe

briefly.



Supporting Roles: Are the show’s supporting roles from visible minority/Indigenous communities?

Supporting roles are re-appearing characters in the program. (i.e. recurring secondary roles)

In documentaries they are secondary background characters, which may exist in stock footage, recreation

actors, non-expert interviews.

Diversity Indicators Diversity Potential Additional

Comments

Not Applicable: ☐

Supporting Roles: Please list the show’s supporting roles

and indicate if they will be portrayed by diverse actors.






Approximate percentage of

supporting roles/actors that

will be/are visible minority or

Indigenous:


Click here to enter

text.

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30

CBC-TV INCLUSION & DIVERSITY PLAN TEMPLATE & ECHOS REPORT

Attached below are two forms which will be used by CBC to help us track our commitment to inclusion and diversity and the

foundation of the plan you are working toward. We ask that you complete the Diversity and Inclusion Plan prior to commencing

principal photography; and complete the ECHOS Report once you’ve wrapped production to let us know how closely you were

able to stick with your original plan. Please provide these forms electronically to your CBC Executive in Charge of Production.

CBC-TV INCLUSION & DIVERSITY PLAN TEMPLATE

2017-18 CBC-TV DIVERSITY & INCLUSION PLAN TEMPLATE

Producer: Click here to enter text.

Program Title: Click here to enter text.

Date: Click here to enter text.

Submitted to: Click here to enter text.

NOTE: In addition to visible minority and Indigenous Peoples, we are also looking at reflection of people with disabilities, women

and LGBTQ+. If there is a potential for reflection of people in these groups please indicate under “Additional Comments” for

each key area. Please also use the “Additional Comments” section to tell us about training opportunities you plan to provide in

any of the applicable areas below.

Executive / Key Creative: Do the key decision-makers creating the program reflect Canada’s Diversity?


☐ Producer(s)

☐ Director(s)

☐ Screenwriter(s)

☐ Editor(s)

☐ Director(s) of Photography

☐ Associate Producer(s)

☐ Other Key Creative(s)

☐ Other production personnel


key creative who are visible




31

31

Content / Concept: Does the show tell stories about or through the eyes of diverse Canadians? Is the story

about or reflect a diverse Canadian community? (i.e. themes, storylines, subject matter, segments, theme

packs)


☐ Subject / Story

Matter


Approximate percentage of key creative

who are visible minority or Indigenous:


☐ Is the core focus of the show about

diversity


Audience Potential

☐ Will the story be relevant to diverse

audiences?

☐ Does it deliver new diverse untapped

audience to CBC? If yes, outline how.


Primary Characters/Hosts/Presenters: Are the shows primary characters from visible minority or Indigenous

communities? (i.e. host, star, lead, narrator)


Not applicable ☐

Principal Roles: Please list the show’s principal roles

and indicate if they will be portrayed by diverse

actors.







key creative who are visible



☐ Is the core focus of the

show about diversity?


32

32

Other On-Air: Are the show’s guests or episodic characters from visible minority/Indigenous communities.

Other on-air roles may exist for a show and are then gone, one-off’s. (i.e. episodic characters).

In documentaries they may be experts, guests.

Diversity Indicators Additional Comments

Not Applicable: ☐

Guest Roles: ☐ Is there an intention for the show’s guest

roles to be portrayed by diverse actors? If yes, please

describe briefly.



Supporting Roles: Are the show’s supporting roles from visible minority/Indigenous communities?

Supporting roles are re-appearing characters in the program. (i.e. recurring secondary roles)

In documentaries they are secondary background characters, which may exist in stock footage, recreation

actors, non-expert interviews.


Not Applicable: ☐

Supporting Roles: Please list the show’s supporting

roles and indicate if they will be portrayed by

diverse actors.






Approximate percentage

of supporting roles/actors

that will be/are visible




33

33

CBC-TV ECHOS REPORT TEMPLATE

E

The E in ECHOS refers to Executive Producer/Key Creative. For Scripted Content shows, this includes ONLY the following

positions:

Director

Exec./Sr. Producer

Producer (Associate)

Editor

DOP

1) How many members are on your Executive/Key Creative team (based on above positions)?

2) Of these, how many are members of a visible minority? (http://www.statcan.gc.ca/eng/concepts/definitions/minority01)

3) How many are members of an Indigenous community? (http://www.statcan.gc.ca/eng/concepts/definitions/aboriginal2)

4) How many are people with disabilities?

(http://www.statcan.gc.ca/pub/89-654-x/89-654-x2013002-eng.htm).

Disability: have a difficulty or impairment due to a long-term condition or health problem but also experience a limitation in their

daily activities. (WHO / Stats Can)

5) How many are women?

6) How many would identify as LGBTQ+ ?

7) Please record further details or rationale for your rating here. Also, please include data for any additional group that you

would like to track.

C

The C of ECHOS refers to Content/ Concept. For Scripted Content shows, this information may be obtained by looking at:

Storyline

Subject Matter

34

34

1) Is the show by definition diverse or about diversity?

ie. Little Mosque on the Prairie, Book of Negroes..

Yes / No

2) In the sample period, how many episodes or items ran in total?

*Note: having people who are visible minority or Indigenous etc. in an episode does not count toward content. You’re looking

for the storylines/topics themselves - ie: is the episode about aboriginal rights, immigrants in Canada…

3) Of these, how many reflected topics about visible minorities?

(http://www.statcan.gc.ca/eng/concepts/definitions/minority01)

4) How many reflected topics about Indigenous communities?

(http://www.statcan.gc.ca/eng/concepts/definitions/aboriginal2)

Note: Having people who are visible minority or Indigenous in the episode does not count toward content. You’re looking for the

storylines themselves – i.e.: is the episode about aboriginal rights, immigrants in Canada…

5) How many reflected topics about people with disabilities?


(Again, this count is looking for stories with disability as the focus itself.)

6) How many reflected topics about women?

7) How many reflected topics about LGBTQ+ communities?



H

The H in ECHOS refers to Host/Star/Lead/Anchor(s). For Scripted Content shows, this includes ONLY the following roles;

Host(s)

Narrator(s)

1) How many Host(s) and/or Narrators(s) are there in total?

If this category is not applicable to the show answer with a "0" and note it does not apply in the rationale field.

35

35


3) How many are members of an Indigenous community?

(http://www.statcan.gc.ca/eng/concepts/definitions/aboriginal2)




6) How many would identify as members of the LGBTQ+ community?



O

The O in ECHOS refers to Other On-Air roles. For Scripted Content shows, this includes the following roles ONLY;

Main Characters

Guest Experts

This includes episodic characters (these are characters who may appear for an episode or two).

1) In the sample period, how many Other On-Air role(s) are there in total?


2) Of these, how many are members of a visible minority (http://www.statcan.gc.ca/eng/concepts/definitions/minority01) or

Indigenous) community?

3) How many are members of an Indigenous community?

(http://www.statcan.gc.ca/eng/concepts/definitions/aboriginal2




6) How many are members of the LGBTQ+ community?

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36



S

The S in ECHOS refers to Supporting Roles. For Scripted Content shows, this includes the following roles ONLY;

Secondary/Background Characters

1) In the sample period, how many Supporting role(s) are there in total? ie. How many docs featured background, stock footage,

non-expert interviews or recreation actors.



3) How many are members of an Indigenous community? (http://www.statcan.gc.ca/eng/concepts/definitions/aboriginal2)




6) How many are members of the LGBTQ+ community?



POV - CBC.ca · POV FORMAT GUIDE for Independent Productions Updated: May 2018 . 2 ... 11 CBC Docs...

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Transcript of POV - CBC.ca · POV FORMAT GUIDE for Independent Productions Updated: May 2018 . 2 ... 11 CBC Docs...